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采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[23,24,25,26,27,29,28,7,97,235,79,112],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],18,{"id":240,"slug":241,"title":242,"dynasty":48,"author":243,"museum":20,"description":244,"tags":245,"thumbUrl":258,"material":142,"size":143,"collection":38,"collections":259,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":43},239758,"shu-hong-li-song-xia-jing-shan-shui-shi-er-yong-shi-ce-he-shen-239758","书弘历颂夏景山水十二咏诗册","和珅","和珅（1750年7月1日—1799年2月22日），钮祜禄氏，本名善保，字致斋，自号嘉乐堂、十笏园、绿野亭主人，奉天府开原县（今辽宁省清原县）人，满洲正红旗。清朝中期权臣、商人。\n和珅门荫入仕，精明强干。通过李侍尧案，巩固身份地位，深得乾隆帝宠信，并将十公主嫁给和珅长子丰绅殷德，促使和珅大权在握，成为皇亲国戚。先后担任和兼任众多关键职务，主要包括内阁首席大学士、领班军机大臣、吏部尚书、户部尚书、刑部尚书、理藩院尚书，兼任内务府总管、翰林院掌院学士、《四库全书》正总裁官、领侍卫内大臣、步军统领等数十个重要职务，拜文华殿大学士，封一等忠襄公。随着权力地位的成长，私欲日益膨胀。利用职务之便，结党营私，聚敛钱财，打击政敌。亲自经营工商业，开设当铺七十五间，设大小银号三百多间，建立同英国东印度公司、广东十三行的商业往来。\n嘉庆四年（1799年），清仁宗下旨将和珅革职下狱。乾隆帝死后十五天，清仁宗赐和珅自尽，时年四十九岁。",[246,247,26,248,74,249,250,251,252,253,254,255,140,7,256,257],"楷书","书法","册页","树","涧","水田","村","溪","林","野塘","波","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c706ca362dd92ad9aff46683c23a07.jpg",[],17,{"id":262,"slug":263,"title":264,"dynasty":18,"author":265,"museum":71,"description":266,"tags":267,"thumbUrl":272,"material":273,"size":274,"collection":38,"collections":275,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":43},219487,"san-yuan-de-lu-tu-yi-yuan-ji-219487","三猿得鹭图","易元吉","画在深山悬崖上的一棵老桂花树上，黑、灰、白三只猿正在捉小白鹭。 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意思是。",[25,268,29,28,57,117,269,7,270,271,35,27],"宋画","猴","树木","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa52192bd8849e9471b8b5eddc6dd495.jpg","设色,绢本","72.7x32.1",[],14,{"id":278,"slug":279,"title":280,"dynasty":281,"author":282,"museum":108,"description":283,"tags":284,"thumbUrl":10,"material":38,"size":38,"collection":39,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":287},202915,"he-tang-shuang-lu-tu-zhou-chen-heng-ke-202915","荷塘双鹭图轴","近代","陈衡恪","墨色晕染间，荷叶以浓淡干湿的笔触铺陈，或卷或舒，尽显自然野趣。双鹭身姿隐现于叶间，寥寥数笔勾勒出灵动神态，憨态可掬又不失清雅。整幅画作以写意手法挥写，线条洒脱，墨韵生动，留白处更显意境悠远。笔墨苍劲中见细腻，将荷塘的清幽与禽鸟的生机巧妙融合，尽显文人画的雅致风骨，于简淡中蕴含深厚意趣。",[25,26,27,57,58,54,95,7,23],[39],6,"d4cdc1",{"id":289,"slug":290,"title":291,"dynasty":48,"author":19,"museum":20,"description":292,"tags":293,"thumbUrl":297,"material":142,"size":143,"collection":38,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":65},261600,"qing-hua-lu-lian-tu-guan-yi-ming-261600","青花鹭莲图罐","青花瓷（blue 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porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[294,295,7,31,57,296],"陶瓷","青花","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8824afbed02b68c59a8c12728017d57.jpg",[],4,{"id":301,"slug":302,"title":303,"dynasty":48,"author":19,"museum":20,"description":304,"tags":305,"thumbUrl":309,"material":142,"size":143,"collection":38,"collections":310,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":311},258850,"ti-he-dian-kuan-huang-di-fen-cai-lu-lian-wen-pen-yi-ming-258850","体和殿款黄地粉彩鹭莲纹盆","明丽娇黄为底，釉色匀净莹润，整器透着华贵雍容的宫廷气韵。外壁与内底遍绘牡丹花枝，粉紫、胭红色的花头饱满丰腴，翠色枝叶婉转舒展，粉彩晕染细腻柔和，将牡丹盛放的娇妍之态尽致描摹，鲜活灵动。\n\n口沿以回纹圈饰，规整的几何纹中和了花卉柔媚，添了古雅端庄之意。整体工致精细，设色鲜亮柔润，将富贵堂皇的审美融于日用瓷中，静穆中透着盎然生机，是彩瓷中颇具代表性的华美之作。",[294,306,28,7,33,307,308],"粉彩","牡丹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fb561989c9df1311555a38335f0cfd.jpg",[],"0D904F",{"id":313,"slug":314,"title":315,"dynasty":48,"author":19,"museum":20,"description":316,"tags":317,"thumbUrl":321,"material":142,"size":143,"collection":38,"collections":322,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":43},256943,"wu-cai-jia-jin-lu-lian-wen-zun-yi-ming-256943","五彩加金鹭莲纹尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[48,318,319,28,294,308,7,33,31,32,320,57],"五彩","加金","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb4c617c59d081962e7b5fe824a1e06.jpg",[],{"id":324,"slug":325,"title":326,"dynasty":48,"author":327,"museum":20,"description":328,"tags":329,"thumbUrl":342,"material":142,"size":143,"collection":38,"collections":343,"showCount":344,"zanCount":11,"manualWeight":11,"mainColor":65},240185,"shi-zhou-hu-hui-en-240185","诗轴","胡会恩","胡会恩. 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[294,306,351,7,33,307,352,353,354,308],"高足盘","海水纹","描金","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d75529e438ee97d9f5abf85f433c8f8.jpg",[],2,{"id":359,"slug":360,"title":361,"dynasty":48,"author":19,"museum":20,"description":362,"tags":363,"thumbUrl":367,"material":142,"size":143,"collection":38,"collections":368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},270087,"lan-se-di-tao-lv-se-bo-li-lu-lian-wen-shui-cheng-yi-ming-270087","蓝色地套绿色玻璃鹭莲纹水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[364,365,7,31,366,354],"玻璃器","雕刻","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15694dd17a11397067da7215562b460a.jpg",[],{"id":370,"slug":371,"title":372,"dynasty":90,"author":19,"museum":20,"description":373,"tags":374,"thumbUrl":378,"material":142,"size":143,"collection":38,"collections":379,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},257489,"wu-cai-lu-lian-wen-zhang-jing-ping-yi-ming-257489","五彩鹭莲纹长颈瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[375,294,318,28,7,33,35,31,308,376,377],"明代","长颈","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84e64ee75039f811d0e83438671d6b0.jpg",[],{"id":381,"slug":382,"title":383,"dynasty":18,"author":19,"museum":20,"description":384,"tags":385,"thumbUrl":391,"material":142,"size":143,"collection":392,"collections":393,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":394},256304,"ding-yao-bai-you-yin-hua-yuan-yang-lu-lian-wen-wan-yi-ming-256304","定窑白釉印花鸳鸯鹭莲纹碗","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[30,294,386,387,388,389,7,390],"定窑","白釉","印花","鸳鸯","莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb939d7dcb14cca91d967780aca137c11.jpg","瓷器精选",[392],"37474F",{"id":396,"slug":397,"title":398,"dynasty":48,"author":19,"museum":20,"description":399,"tags":400,"thumbUrl":402,"material":142,"size":143,"collection":38,"collections":403,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":394},251146,"bi-yu-lu-lian-wen-xi-yi-ming-251146","碧玉鹭莲纹洗","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[48,401,365,7,31,308],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f67d27d572d8344a0a3b2e7decdae9.jpg",[],{"id":405,"slug":406,"title":407,"dynasty":48,"author":19,"museum":20,"description":408,"tags":409,"thumbUrl":412,"material":142,"size":143,"collection":38,"collections":413,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},245780,"yin-zao-hua-lu-lian-wen-pen-yi-ming-245780","银凿花鹭莲纹盆","敞口宽沿，器型周正沉稳。素净外壁衬得口沿錾刻愈发灵动：鹭鸟穿行莲丛，羽翼舒展悠然，莲花或绽或含，卷叶交错俯仰，刀工细腻婉转，将水畔清趣凝于银面。\n\n银面历经岁月晕开柔润包浆，冷冽金属肌理晕染出暖调旧色，光泽内敛沉静。整器重工不赘余，纹饰疏密相宜，既有精致工细的工艺质感，又带着江南花鸟的清雅意趣，将日常用器与雅致审美相融，是实用与匠心兼具的银作佳器。",[48,410,411,7,33,354],"银器","凿花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb25743a2209ec95f624075e1e915e3.jpg",[],{"id":415,"slug":416,"title":417,"dynasty":418,"author":19,"museum":20,"description":399,"tags":419,"thumbUrl":421,"material":142,"size":143,"collection":38,"collections":422,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},230743,"yu-lou-diao-he-lu-ding-yi-ming-230743","玉镂雕荷鹭顶","不详",[401,365,420,31,7,308],"镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff464739ba984b5cc355e7ddab37de04a.jpg",[],{"id":424,"slug":425,"title":426,"dynasty":48,"author":19,"museum":20,"description":399,"tags":427,"thumbUrl":429,"material":142,"size":143,"collection":38,"collections":430,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},230082,"he-lu-yu-ding-yi-ming-230082","荷鹭玉顶",[428,401,365,95,7],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56e03869d3b6dc4e7dd91b572fae931.jpg",[],{"id":432,"slug":433,"title":434,"dynasty":162,"author":19,"museum":20,"description":399,"tags":435,"thumbUrl":437,"material":142,"size":143,"collection":38,"collections":438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},228134,"he-lu-yu-ding-mu-gai-yi-ming-228134","荷鹭玉顶木盖",[162,401,436,365,95,7,308],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a09bc89165cff585e319f1821abc7.jpg",[],1777535714742]